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Adams: the Gospel According to the Other Mary

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Détails sur le produit

  • Interprète: Gustavo Dudamel, Brian Cummings, Kelley O'Connor, Multi-Artistes, Russell Thomas, et al.
  • Orchestre: Los Angeles Philharmonic
  • Chef d'orchestre: Gustavo Dudamel
  • CD (10 mars 2014)
  • Nombre de disques: 2
  • Label: Deutsche Grammophon
  • ASIN : B00HGFILU8
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 57.586 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. - the next day in the city jail
  2. - now a certain woman named martha
  3. - and she had a sister named mary
  4. - I am surprised that I am beginning to pray daily
  5. - en un día de amor yo bajé hasta la tierra
  6. - now a certain man was sick
  7. - lazarus dies while the sisters await jesus
  8. - why standest thou afar off, o lord?
  9. - in my own quietly explosive here
  10. - don't touch my left arm
  11. - when mary was come where jesus was
  12. - jesus said, take ye away the stone
  13. - and when he thus had spoken
  14. - drop down, ye heavens, from above
  15. - then jesus six days before the passover
  16. - for the grave cannot praise thee
  17. - then took mary a pound of ointment
  18. - and there were some that had indignation
  19. - we know there will be no utopias
  20. - tell me: how is this night different

Disque : 2

  1. - who rips his own flesh down the seams
  2. - martha and mary, not knowing
  3. - instrumental introduction
  4. - up at two a.m., picketed all day
  5. - the said defendants
  6. - jesús, incomparable perdonador de injurias
  7. - and they were come unto a place called golgotha
  8. - daughters of jerusalem, weep not for me
  9. - now there stood by the cross of jesus
  10. - when jesus saw his mother
  11. - when the rain began to fall
  12. - his son cried out to him
  13. - now in the place where he was crucified
  14. - mary awakens on the third morning
  15. - it is spring
  16. - "and, behold, there was a great earthquake"
  17. - why seek ye the living among the dead?


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Format: CD Achat vérifié
Après avoir fondamentalement repensé les Passions selon St Jean et St Mathieu de Bach aux côtés de Simon Rattle, Sellars s'est vu confié la mise en scène de la Passion selon l'autre Marie (Marie-Madeleine) composée par John Adams. Nous ne disposons malheureusement pas (pour le moment ?) d'une version DVD de l'association de ces deux génies et l'enregistrement réalisé ici l'a été en studio avec l'équipe qui a créé l'oeuvre et le spectacle.

Pour composer son opus, John Adams a d'abord prêté une attention extrême aux textes. Il ne s'agissait pas de plagier les Evangiles mais de créer un lien évident, immédiatement appréhensible entre le témoignage des apôtres, l'ancrage de référence chez Bach et la façon contemporaine dont les petits, les exclus, les sans-grades vivent l'injustice, l'exclusion ou la violence. C'est ce qui rend la parole christique et celle des évangiles universelles. C'est ce qui fait qu'elle traverse le temps, malgré tout, car elle est porteuse d'espoir et de promesses d'un monde meilleur face à un monde de plus en plus hostile.

Du coup, il s'agit pour Adams et Sellars de positionner les scènes dans notre monde actuel et, plus spécifiquement même si cela n'est jamais dit comme tel, aux Etats-Unis où les chicanos fournissent des bataillons d'exclus, d'exploités, d'esclaves modernes au service d'une société dont il est difficile de vanter la douceur. Il faut se battre en permanence pour y exister, sortir du lot, obtenir sa place au soleil.
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Format: CD Achat vérifié
The libretto is a collage of texts from different sources.

First Dorothy Day opens the libretto and intervenes all along. “Intrigued by the Catholic faith for years, Dorothy Day converted in 1927. In 1933, she co-founded The Catholic Worker, a newspaper promoting Catholic teachings that became very successful and spawned the Catholic Worker Movement, which tackled issues of social justice guided by its religious principles. Day also helped establish special homes to help those in need. . . In addition to her writing for The Catholic Worker, Day also penned several autobiographical works. She explained her religious conversion in 1938's From Union Square to Rome, writing the book as a letter to her brother, an ardent communist. In 1952, Day released her second autobiography, The Long Loneliness.” (Dorothy Day © 2014. The Biography.com website. Available from: [...]
Three interventions of Rosario Castellanos. She was born on May 25, 1925 in Mexico City, Mexico and died on August 7, 1974, in Tel Aviv, Israel. She was a novelist, a short-story writer, a poet, an essayist and a diplomat, probably the most important Mexican woman writer of the 20th century. Her 1950 master’s thesis, Sobre cultura femenina (“On Feminine Culture”), became an inspiration for modern Mexican women writers, a strong summon for self-awareness.

Two excerpts from June Jordan. She was born in 1936 and she died in 2002. She was “one of the most widely-published and highly-acclaimed African American writers of her generation, poet, playwright and essayist. June Jordan was also known for her fierce commitment to human rights and progressive political agenda.
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Amazon.com: HASH(0xa3ead2a0) étoiles sur 5 14 commentaires
11 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0xa3efce64) étoiles sur 5 One of Adams's most effective stage works, highly accessible and dramatic - a splashy success 28 mars 2014
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
This is Part Two of "John Adams does the Bible," the first installment being his Nativity oratorio, El Nino. Here the angle is liberaiton theology from south America, which directed the Church's ministry toward social justice and poverty. After a period of suppression under two conservative Popes, liberation theology has gotten a boost form the highly popular new Pope, who of course comes from South America and personally embodies a connection with the mass of humble Catholics in the region. Adams, on the other hand, is an immensely clever Harvard-educated composer whose career is a model of elitist success.

This doesn't disqualify him from writing a heartfelt feminist passion, any more than Bernstein's Jewishness disqualified him from writing Mass, a multimedia extravaganza that serves as the obvious predecessor of The Gospel According to the Other Mary. Mass was a disaster at its premiere, while Adams's Gospel - backed up by the popular success of Golijov's mass-makret, Spanish-language Passion According to St. Mark - fits more smoothly into the groove of fairly innocuous political correctness. The music is just as accessible as Golijov's and on the whole less powerful and passionate.

In short, a whiff of opportunism hangs over this Gospel. In his opera Doctor Atomic contemporary poetry and a sonnet of John Donne's was inserted into the story of J. Robert Oppenheimer at the Manhattan Project, and the tactic is repeated her, with feminist poetry, largely Latino, interspersed with a New Testament narrative delivered by two countertenors. It's an effective device, no doubt more so when the audience gets dancers and a light show to go along with the score. I imagine The Gospel According to the Other Mary will achieve its full stature only when a DVD of Peter Sellars' complete future staging is achieved. Bernstein's Mass is quite effective when staged, in part because clumsy, vulgar, or overwrought musical passages get softened.

I found Golijov's Passion vulgar in the extreme, which puts me in a decided minority. It's been a huge hit with concert audiences, creating the air of a raucous salsa party to ameliorate the churchiness of the Biblical text, which in any case was so thoroughly turned into music by Bach that few composers in the succeeding four centuries returned to it. If The Da Vinci code hadn't canonized Mary Magdalene, turning her into a feminist icon, I doubt that Adams would have given a fig for the Passion of Christ, his output being notably devoid of religious music. Promoting the Magdalene on the basis of a tiny handful of New Testament verses, and conflating her with the woman taken in adultery, for which there is no valid reference, is pure pop culture putting on its serious face.

I've offered a preface that some readers will find splenetic, and I admit to some jealousy that Adams has been so overpraised for works that seem to me derivative of Philip Glass ad on their own merits glib. But the irony is that The Gospel According to Mary is actually the most effective musical drama I've heard from him, possibly including Nixon in China. The vocal writing is varied and emotional. There is almost no motorized minimalism of the windup toy type. Not having a printed text - my copy is a download - I can't really make out the singers' enunciation of the poetry. Although she has a powerful voice, lead singer Kelley O'Connor turns English into a soft mush. For the first time Adams also shows a care for melody, far more so than in Doctor Atomic, which presented long stretches of the most boring vocal writing I've heard form him, relieved by one number, Oppenheimer's aria set to Donne's verse.

He's still guilty of a reluctance to edit himself. Too much music, especially the Biblical recitatives, is spun out by rote, which of course comes habitually when your idiom is founded on the deliberate repetitiveness of minimalism. Is the boredom intentional or not? I doubt that the question has a credible answer, but thanks to Adams's unusually adept orchestration, even his repetitions sound colorful. Unlike either Nixon or Atomic, this score creates a real atmosphere of shifting moods, which is a major reason for it working so well on CD, without visuals. (It's also much less challenging harmonically than Atomic.)

Dudamel conducts with complete dramatic conviction, and both orchestra and chorus are in great form. I can't say that I found the soloists as magnetic as the local reviewers did, but perhaps that's asking too much. Making a splash is only the first step in the survival of a score, and only time will tell, but this one sounds like a keeper. The only thing that is likely to work against it is extreme length and a certain sameness that for some will turn to monotony in the second hour. The fact that it doesn't seem religious in any conventional sense probably won't matter to many listeners.
10 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0xa3f0b924) étoiles sur 5 Not the masterwork of the 21st century expected 17 mars 2014
Par Grady Harp - Publié sur Amazon.com
Format: CD
Having first heard this Passion/oratorio/pantomime/multilingual epic work composer by John Adams with a libretto by Peter Sellars (a combination of scripture from both the Old and New Testaments as well as lyrics from Dorothy Day, Louise Erdrich, Rosario Castellanos, Hildegard von Bingen, Primo Levi and Rubén Dario) first in concert performance (with promise of a future Sellars' staging offering hope that there was more to the work than the long song appeared to have), and second in the much anticipated full staging of this strange amalgamation of music, text, movement, pantomime, odd lighting etc, it is with some sense of hesitancy to see if it works simply in the recorded form.

Everyone will have a different response to the work, depending on where the format and message and music and lyrics hit mental/aural targets. The singing of Kelley O'Connor is consistently impressive as Mary Magdalene (who we meet in a drug rehab/prison situation) as she eventually moves into the influence of the Christ figure via the miracle of the raising of Lazarus (from the dead) and her sister Martha as sung by Tamara Mumford, and the narration sung by countertenors Daniel Bubeck, Brian Cummings and Nathan Medley. The Los Angeles Master Chorale is in fine form and the LA Phil under Gustavo Dudamel's direction makes the most of the exposed portions of the score (the Passover scene music is the musical highlight of the writing). But it is a long spotty work that tends to become tiresome before the ending.

Perhaps it is the attempt to blend too many forms of message and music and poetry and contemporary concepts that makes the piece ultimately earthbound. Hailed as a feminist's version of the Passion is not necessarily praise. It just remains a bit overblown and creaky instead of being a mystical rethinking of a mystery play. 5 stars for performance, 3 stars for the composition. Grady Harp, March 14
7 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0xa3f04804) étoiles sur 5 Important Passion 25 mars 2014
Par operalvr - Publié sur Amazon.com
Format: CD
I have not yet even received, let alone heard this recording of John Adam's Gospel According to the Other May. I attended the third of three performances, given in LA in March 2013. I flew down from San Francisco on a Saturday, attended LA Opera that night, and LAPhil's performance of Adams' Gospel on Sunday afternoon, returning to the airport following the show, and flying home still full of the array of emaotions and impressions with which I had left Disney Hall. To witness everyone performing onstage in this performance has been a shattering experience. I am glad I traveled to LA (Dudamel had to skip the second performance in order to conduct at the Chavez memorial in Caracas, but was back in town in time for the Sunday performance). The performance on that March afternoon will stay with me as long as I live. A sound recording, or even a DVD, is welcome, yet, for obvious reasons, cannot fully and adequately replace the live experience of this stunning piece. I hope that at some point in the future there will be a performance of both "El Nino" and "The Gosplel according to the Other Mary" on the same night. It would require immense commitment of both performers and audience, but I think that, in the end, the overall experience of both pieces will be truly exceptional. To me, these pieces are like a "Passion Ditych", and certainly a distinctive American response, and addition, to Johann Sebastian Bach's masterpieces. I have ordered the recording and await it's arrival eagerly. But I am confident enough to give five stars, even if prematurely. I suggest taking ample time to hear it, and hear it again, of even more often. My regret is that I did not have the opportunity to hear two consecutive performances, or even all three of them, in LA in March 2013. Sometimes one encouters a great work of art, and experiencing it only once does not do it justice. Adams' Gospel According to the Other Mary is such a work of art.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0xa3f13af8) étoiles sur 5 The Gospel According To The Other Mary (And John Adams) 9 juin 2014
Par Amazon Customer - Publié sur Amazon.com
Format: CD
Gustavo Dudamel's (thus far) five-year tenure as the music director of the Los Angeles Philharmonic Orchestra has been, quite simply, extraordinarily unique in the way he has done things. Of course the same thing could be said about Zubin Mehta, Carlo Maria Giulini, Andre Previn, and Esa-Pekka Salonen (Dudamel's immediate successor); but Dudamel has really set the bar high, not only for the L.A. Philharmonic, but for a lot of other young music directors of the world's major orchestras. The recording that Dudamel and the orchestra made of the Mahler Ninth, one of the most emotionally extreme symphonies in the entire repertoire, was one of the best recordings of 2013, classical or otherwise. And this recording of John Adams' combination opera/oratorio "The Gospel According To The Other Mary" is on that level for 2014 as well.

After the 1982 recording of Giuseppe Verdi's opera "Falstaff", which was done with Giulini on the podium, this is probably the longest and biggest recording the L.A. Philharmonic has ever taken on, running to two hours and thirteen minutes. But this very contemporary work from one of America's finest composers, a continuation of themes first broached in Adams' previous Nativity piece "El Nino", is rendered quite vividly, with the stories of Mary Magdalene and Martha given a contemporary touch, thanks to Adams and the staging of Peter Sellars (who handled similar duties on "El Nino"). And it comes complete with a solid cast: Kelley O'Connor as Mary Magdalene; Tamara Mumford as Martha; and Russell Thomas as Lazarus, along with countertenors Daniel Bubeck, Brian Cummings, and Nathan Medley.

Along with great assistance from the Los Angeles Master Chorale, superbly prepared by their director Grant Gershon, Dudamel and the L.A. Philharmonic prove why they are one of the great conductor/orchestra combines of our age. Is "The Gospel According To The Other Mary" a masterpiece? Only time will tell, and I think that's up to the gods of music. But for my tastes, it is definitely one of the great recordings of 2014, classical or otherwise.
9 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0xa3f13ca8) étoiles sur 5 I can't say that I was inspired 31 mars 2014
Par David Eaton - Publié sur Amazon.com
Format: CD
Having read the other three reviews posted here I found myself agreeing with many of the points offered. Political/social issues aside, having listened to the recording over the weekend I found myself thinking (yet again) how difficult it is to compose for the English language in ways that effectively pulls the listener into the drama of the narrative. This becomes especially apparent when the women's chorus first sings in Spanish, ("En un dia de amor."). Italian, Spanish and even Latin are far more "musical" languages. Adams' musical syntax is decidedly non-lyrical and I've always found his purely instrumental works to be far more satisfying. The lyricism of Britten in "Peter Grimes" or Copland and Barber gives the English language a fighting chance; not so here. Add to that, the balance between the vocalists and the orchestra in the dense tutti passages renders the lyrics indistinguishable more often than not. When the word is lost in the din of orchestral sound, what's the point? Like another reviewer, I too found the listening to be quite tedious after 15 to 20 minutes. The overall achievement is quite impressive and the DVD will obviously provide a better representation, but from a musical perspective (and that's usually why operas survive--or not), I can't say that I was inspired or moved to want to hear it again.
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